Philippe Druillet

Philippe Druillet’s work possesses a unique aura, that of a monument of Franco-Belgian comics: there will always be a ‘before’ and an ‘after’ Druillet. Every page offers an opportunity to experiment with a new graphic technique, yielding breathtaking results: a profusion of detail, an explosive composition and deep inkings; Druillet’s art exudes a unique sense of allure. Didier Pasamonik recounts: “Fascinated by the artist, Jacques Attali admitted that he would first spend hours looking at the artwork's tiniest details, appreciating ‘the meticulous fantasy of the drawing's delirious precision, the colours, the shapes…’, only returning to the text afterwards. It is clear that Druillet’s graphic lyricism has left an indelible mark on French comic art, influencing numerous artists such as Olivier Ledroit.”

Highly prized on the art market, his gigantic art pages from Vuzz, Lone Sloane and Salambo are among the most sought-after artworks by collectors of the Métal Hurlant period. In 2008, he set a world record when two pieces entitled L’Île des morts intérieurs were auctioned, selling for over €200,000 each. 

Pencils, graphite and colored pencils are long-lasting. Pieces in wax crayon, black lead or charcoal require special care to avoid rubbing. However, never expose them to direct light. Like all materials, the paper used for these works is susceptible to change when exposed to UV light.
We advise you to display them away from windows, and to use frames made from pH-neutral conservation materials and “Museum” glass with anti-UV and anti-reflective treatment. If you prefer to keep your works unframed, we recommend storing them flat, in drawing cartons, with sheets of pH-neutral permanent paper in between. Keep them away from light and humidity.

Born in 1944 in Toulouse, Philippe Druillet is undoubtedly one of the founders of the experimental comic art movement of the 1960s. With Lone Sloane, he brought about a sensational break with convention in the global comic art scene. Continued in Pilote from 1970 onwards, the series made its mark with its baroque artwork, grandiose architecture and fragmented layout, a far cry from the traditional grid format. Together with Moebius, Jean-Pierre Dionnet and Bernard Farkas, he founded Les Humanoïdes Associés and the magazine Métal Hurlant in 1975, before embarking on his most ambitious artwork: an adaptation of Gustave Flaubert’s Salammbô into a fantasy and science-fiction epic, published between 1980 and 1986. Winner of the Grand Prix at the Angoulême Festival in 1988, followed by the Grand Prix National des Arts Graphiques in 1996, Druillet extends his art far beyond comics — into painting, sculpture, murals, opera and animated film – establishing himself as one of the most versatile artists of his generation.